Notes

1. Contrast that indifference with the furor that caused the cancellation of the release of Snuff in the middle '70's, sight unseen, because of publicity implying that real snuff murders took place in the film. Ever since Night of the Living Dead (1968), American reviewers have been quick to seek out new horror films to condemn.

2. Lucas, Tim, "What Are Those Strange Drops of Blood in the Scripts of Ernesto Gastaldi?", Video Watchdog #39, 1997, 34-36.

3. Hardy, Phil, editor, The Encyclopedia of Horror Movies, Harper & Row, New York, 1986,ISBN 0 06 096146 5, x,149. Hardy also refers to The Terrible Secret of Dr. Hichcock and Raptus (which writer Ernesto Gastaldi identified to Tim Lucas as a working title) as being variant titles.

4. The actual differences between Terror and Horrible: The English Terror begins with a full title sequence against black. Melodramatic title music is at one point amusingly interrupted by one of Ms. Steele's bloodcurdling screams, heard over pitch black. The film then begins with the graveyard scene. Horrible uses the graveyard scene as pre-credit sequence, and truncates the English title sequence, substituting the main title card for an ugly replacement. Horrible has at least one extra off-camera line dubbed in: "Yes, but you must admit the doctor is a bit strange himself, isn't he!" is added to Margaretha's burial scene, just before Jezebel the cat is clearly thrown on her coffin. In Horrible fades have been imposed on most scenes, retaining most of Terror's dialog but dropping entrances and exits and in general spoiling the pace and atmosphere of the whole show. Freda originally cut pointedly from Bernard holding his syringe aloft in the clinic, to him identically holding his sex-game syringe later at home; Horrible ruins the moment by inserting an unnecessarily literal shot of a homeward-bound carriage in between. When Bernard dashes into the rainstorm in pursuit of the piano-playing phantom, Horrible omits a nice sequence of him returning to the house and confusing a lightning-lit white curtain for the specter, before finding the unconscious Cynthia in the garden. At the conclusion, the young intern's long climb into Hichcock's window is shortened by almost a minute. No key sex scenes are actually missing, but most are abbreviated with the addition of the early fadeouts: in the graveyard, in the Funeral Game Room, and in the morgue, Hichcock's attentions to various corpses linger a bit longer in Terror. Contrary to expectation, there is neither nudity nor graphic footage in the longer English cut.